Papers by Myriam Desainte-Catherine
Modèles spectraux hiérarchiques pour les sons et applications
Http Www Theses Fr, 2007
Dans ce memoire, nous nous interessons a l'etirement temporel du son sans artefact. Nous nous... more Dans ce memoire, nous nous interessons a l'etirement temporel du son sans artefact. Nous nous placons dans le cadre des sons quasi-harmoniques a faible niveau de bruit. Nous presentons ici une nouvelle approche hierarchique de la modelisation du son, en nous basant sur la transformee de Fourier et le modele sinusoidal appliques aux parametres de controle du son. Nous introduisons donc la modelisation des signaux de controle du son ainsi que ses applications (incluant des ameliorations de l'algorithme du suivi de partiels), puis nous ouvrons la voie vers la modelisation au niveau musical en nous basant sur la recherche de periodicites dans la melodie. A chaque niveau, nous proposons une technique d'etirement temporel du son. En manipulant les parametres des signaux de controle du son, nous arrivons ainsi a un etirement du son preservant la hauteur, le timbre et les modulations.
arXiv (Cornell University), 2017
In this chapter we explain briefly the fundamentals of the interactive scores formalism. Then we ... more In this chapter we explain briefly the fundamentals of the interactive scores formalism. Then we develop a solution for implementing the ECO machine by mixing petri nets and constraints propagation. We also present another solution for implementing the ECO machine using concurrent constraint programming. Finally, we present an extension of interactive score with conditional branching.
We describe a system that allows improvisers and composers to construct an interactive musical en... more We describe a system that allows improvisers and composers to construct an interactive musical environment directly from a musical recording. Currently, interactive music pieces require separate phases of constructing generative models and structuring them into a larger compositional plan. In the proposed system we combine machine improvisation tools based on Variable Markov Oracle (VMO) with an interactive score (i-score) to control the improvisation according to larger structures found in that recording. This allows construction of improvisation scenarios in ways that are organic with the musical materials used for generating the music. The method uses new results of audio segmentation based on VMO and translates it into a Petri Net (PN) model with transition rules left open to be defined by a musician. The PN structure is finally translated into a timed representation for a live i-score control.
Proceedings of the SMC Conferences, Jul 23, 2009
Musical video games are best sellers games. One of their selling point is based on the improvemen... more Musical video games are best sellers games. One of their selling point is based on the improvement of players' musical abilities. But interviews made with gamers and musicians show that if the former feel enough freedom in musical expression, the latter are more sceptical and feel more limited in the possibility of express themselves when they are playing. In parallel with the games development, some research works propose to improve control and meta-control on music to allow expressive performance without the user being a virtuoso. The goal of this article is first to present interviews made for knowing users opinions. Some research works about improving musical expressive performance are then presented. Finally, we propose games enhancing the expressive and technical musical performance, linking current game-play with current research.
Proceedings of the SMC Conferences, Aug 31, 2016
The field of digital music authoring provides a wealth of creative environments in which music ca... more The field of digital music authoring provides a wealth of creative environments in which music can be created and authored: patchers, programming languages, and multitrack sequencers. By combining the I-SCORE interactive sequencer to the LIBAUDIOSTREAM audio engine, a new music software able to represent and play rich interactive audio sequences is introduced. We present new stream expressions compatible with the LIBAUDIOSTREAM, and use them to create an interactive audio graph: hierarchical stream and send -return streams. This allows to create branching and arbitrarily nested musical scores, in an OSC-centric environment. Three examples of interactive musical scores are presented: the recreation of a traditional multi-track sequencer, an interactive musical score, and a temporal effect graph.
Proceedings of the SMC Conferences, Jul 21, 2010
Multimedia scenarios have multimedia content and interactive events associated with computer prog... more Multimedia scenarios have multimedia content and interactive events associated with computer programs. Interactive Scores (IS) is a formalism to represent such scenarios by temporal objects, temporal relations (TRs) and interactive events. IS describe TRs, but IS cannot represent TRs together with conditional branching. We propose a model for conditional branching timed IS in the Nondeterministic Timed Concurrent Constraint (ntcc) calculus. We ran a prototype of our model in Ntccrt (a real-time capable interpreter for ntcc) and the response time was acceptable for real-time interaction. An advantage of ntcc over Max/MSP or Petri Nets is that conditions and global constraints are represented declaratively.
Proceedings of the SMC Conferences, Oct 20, 2004
We propose a formalism for specifying temporal relations between interactive triggerings and rele... more We propose a formalism for specifying temporal relations between interactive triggerings and releasings occurring during performance of written musical pieces. Temporal durations are specified between parts or notes of a written piece. Then, we proceed to a static analysis of the piece in order to produce a program providing safe execution of the piece according to the temporal relations.
This paper presents a project involving a percussionist playing on a virtual percussion. Both art... more This paper presents a project involving a percussionist playing on a virtual percussion. Both artistic and technical aspects of the project are developed. Especially, a method forstrike recognition using the Flock of Birds is presented, aswell as its use for artistic purpose.
The theory of interactive scores addresses the writing and execution of temporal constraints betw... more The theory of interactive scores addresses the writing and execution of temporal constraints between musical objects, with the ability to describe the use of interactivity in the scores. In this paper, a notation for the use of conditional branching in interactive scores will be introduced. It is based on a high level formalism for the authoring of interactive scores developed during the course of the OSSIA research project. This formalism is meant to be at the same time easily manipulated by composers, and translatable to multiple formal methods used in interactive scores like Petri nets and timed automaton. An application programming interface that allows the interactive scores to be embedded in other software and the authoring software, i-score, will be presented.
This paper introduces the beta version of i-Berlioz, an interactive CAO system that generates orc... more This paper introduces the beta version of i-Berlioz, an interactive CAO system that generates orchestrations from verbal timbre descriptors. This system relies on machine learning models for timbre classification and generative orchestration, and methods and tools to write and execute interactive scenarios. The text details the two main parts of i-Berlioz: its generative and exploratory engines, illustrated with an example of i-Berlioz operational processes. Such a system would ultimately aid the composition of musical form based on timbre.
This paper introduces i-Berlioz, a proof-of-concept interactive Computer-Aided Orchestration (CAO... more This paper introduces i-Berlioz, a proof-of-concept interactive Computer-Aided Orchestration (CAO) system that suggests combinations of musical instruments to produce timbres specified by the user by means of verbal descriptors. The system relies on machine learning for timbre classification and generative orchestration, and tools to write and execute interactive scenarios. The paper details the two main parts of i-Berlioz: its generative and exploratory engines, respectively, accompanied with examples. The authors discuss how i-Berlioz can aid the composition of musical form based on timbre.
Numeric musical and artistic creation is in great part based on well-known patcher softwares: Max... more Numeric musical and artistic creation is in great part based on well-known patcher softwares: Max, PureData, Open-Music, vvvv… Yet, handling temporal evolutions and structures on large scales remains a central problem: for instance, writing a song with introduction, chorus, verse, chorus, parts in Max presents many hurdles to the composer. Hence, multiple software have introduced tracks and automations to provide a temporal control of a given set of parameters in a single or even multiple concurrent time-lines. We present an extension to the dataflow paradigm used by patchers that allows to handle the execution of any parts of a computation in time. That is, instead of sending control messages to existing patchs, they are run in a time-line which orchestrates the data bindings between different parts of the dataflow. This enables dynamic behaviours when creating temporal compositions. An example is given with Pure Data patches and an i-score scenario.
The development and authoring of interactive music or applications , such as user interfaces for ... more The development and authoring of interactive music or applications , such as user interfaces for arts & exhibitions has traditionally been done with tools that pertain to two broad metaphors. Cue-based environments work by making groups of parameters and sending them to remote devices , while more interactive applications are generally written in generic art-oriented programming environments, such as Max/MSP, Processing or openFrameworks. In this paper, we present the current version of the i-score se-quencer. It is an extensive graphical software that bridges the gap between time-based, logic-based and flow-based interactive application authoring tools. Built upon a few simple and novel primitives that give to the composer the expressive power of structured programming, i-score provides a time line adapted to the notation of parameter-oriented interactive music, and allows temporal scripting using JavaScript. We present the usage of these primitives, as well as an i-score example o...
Journal of New Music Research, 2016
The advances in authoring of interactive scores call for a thorough analysis of the written score... more The advances in authoring of interactive scores call for a thorough analysis of the written scores. A possible way to ensure correctness of an interactive score is through the use of formal techniques such as model checking. In this work, we present a visual model of the inter-media sequencer i-score and we propose a Timed Automata encoding to reason about the interactive scores written in this software. The verification of some properties of interactive scores is presented, along an evaluation of the performance of the model-checking process with UPPAAL.
We propose a formalism for construction and performance of musical pieces composed of temporal st... more We propose a formalism for construction and performance of musical pieces composed of temporal structures involv- ing discrete interactive events. The occurrence in time of these structures and events is partially defined according to constraints, such as Allen temporal relations. We rep- resent the temporal structures using two constraint mod- els. A constraints propagation model is used for the score composition stage whereas a non deterministic temporal concurrent constraint calculus (NTCC) is used for the per- formance phase. The models are tested with examples of temporal structures computed with the GECODE con- straint system library and run with a NTCC interpreter.
The use of computers as Digital Musical Instruments (DMI) rises many problems due to the separati... more The use of computers as Digital Musical Instruments (DMI) rises many problems due to the separation between gesture and sound production. However, computational power allows now for complex real-time analysis and ges- ture anticipation and recognition. We present here an in- teractive performance system for a percussionist playing in the air, with no physical percussion. Since the gesture sensors are
Proceedings of the 3rd international conference on Digital Interactive Media in Entertainment and Arts, 2008
In this article, we present the development of research carried out to design a system of interac... more In this article, we present the development of research carried out to design a system of interactive scores for composition and execution, based on temporal constraints called Iscore. This system has been designed in order to allow musicians to interpret pieces of electro-acoustic music but since it uses a symbolic representations of the scores, it can bee seen as a system for more generally writing interaction with a temporal approach. Then, numerous other applications could be possible. This system can be used to create interactive multimedia scenarios (for theater shows or museum visits as examples) and also for adapting musical pieces or interactive multimedia documents for mutli-player applications or players with limited ability.
Multimedia scenarios have multimedia content and interactive events associated with computer prog... more Multimedia scenarios have multimedia content and interactive events associated with computer programs. Interactive Scores (IS) is a formalism to represent such scenarios by temporal objects, temporal relations (TRs) and interactive events. IS describe TRs, but IS cannot represent TRs together with conditional branching. We propose a model for conditional branching timed IS in the Non-deterministic Timed Concurrent Constraint (ntcc) calculus. We ran a prototype of our model in Ntccrt (a real-time capable interpreter for ntcc) and the response time was acceptable for real-time interaction. An advantage of ntcc over Max/MSP or Petri Nets is that conditions and global constraints are represented declaratively.
2012 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH), 2012
The context of this work is to develop, adapt and integrate augmented reality related tools to en... more The context of this work is to develop, adapt and integrate augmented reality related tools to enhance the emotion involved in cultural performances. Part of the work was dedicated to augmenting a stage in a live performance, with dance as an application case. In this paper, we present a milestone of this work, an augmented dance show that brings together several tools and technologies that were developed over the project's lifetime. This is the result of mixing an artistic process with scientific research and development. This augmented show brings to stage issues from the research fields of Human-Machine Interaction (HMI) and Augmented Reality (AR). Virtual elements are added on stage (visual and audio) and the dancer is able to interact with them in real-time, using different interaction techniques. The originality of this work is threefold. Firstly, we propose a set of movement-based interaction techniques that can be used independently on stage or in another context. In this set, some techniques are direct, while others go through a high level of abstraction. Namely, we performed movement-based emotion recognition on the dancer, and used the recognized emotions to generate emotional music pieces and emotional poses for a humanoid robot. Secondly, those interaction techniques rely on various interconnected systems that can be reassembled. We hence propose an integrated, interactive system for augmenting a live performance, a context where system failure is not tolerated. The final system can be adapted following the artist's preferences. Finally, those systems were validated through an on field experiment -the show itself -after which we gathered and analyzed the feedback from both the audience and the choreographer.
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Papers by Myriam Desainte-Catherine